Hawkins - Queerness in Pop Music

1 Popular Music Fandom
Identities, Roles and Practices
Edited by Mark Duffett

2 Britishness, Popular Music, and National Identity
The Making of Modern Britain
Irene Morra

3 Lady Gaga and Popular Music
Performing Gender, Fashion, and Culture
Edited by Martin Iddon and Melanie L. Marshall

4 Sites of Popular Music Heritage
Memories, Histories, Places
Edited by Sara Cohen, Robert Knifton, Marion Leonard, and Les Roberts

5 Queerness in Heavy Metal Music
Metal Bent
Amber R. Clifford-Napoleone

6 David Bowie
Critical Perspectives
Edited by Eoin Devereux, Aileen Dillane, and Martin J. Power

7 Globalization and Popular Music in South Korea
Sounding Out K-Pop
Michael Fuhr

8 Popular Music Industries and the State
Policy Notes
Shane Homan, Martin Cloonan, and Jen Cattermole

9 Goth Music
From Sound to Subculture
Isabella van Elferen and Jeffrey Andrew Weinstock

10 Queerness in Pop Music
Aesthetics, Gender Norms, and Temporality
Stan Hawkins

First published 2016

by Routledge

711 Third Avenue, New York, NY 10017

and by Routledge

2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

2016 Taylor & Francis

The right of Stan Hawkins to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data

Hawkins, Stan.

Queerness in pop music: aesthetics, gender norms, and temporality / by Stan Hawkins.

pages cm. (Routledge studies in popular music; 10)

Includes bibliographical references and index.

1. Popular musicSocial aspects. 2. Homosexuality and popular music.
3. Gender identity in music. 4. Popular musicPerformances. I. Title.

ML3470.H39 2015

781.6408664dc23 2015029588

ISBN: 978-1-138-82087-6 (hbk)

ISBN: 978-1-315-74363-9 (ebk)

Typeset in Sabon

by codeMantra

This book has been a most pleasurable experience and great fun to write. Crucial to the writing process has been the generous support and encouragement from the Department of Musicology, University of Oslo, without which the project would not have been possible. This has been an amazing place to carry out my work. Also, I have benefited greatly from a generous research grant I received from the Norwegian Research Council from 2010 to 2014 to lead a research project entitled Popular Music and Gender in a Transcultural Context. In particular, my appreciation goes to members of my team who continuously sparked intellectual excitement: Mats Johansson, Birgitte Sandve, Jon Mikkel Broch lvik, as well as the projects two research assistants, Craig Jennex and Mari Paus. During the past years I have been fortunate enough to supervise a very special group of doctoral students engaged in many of the ideas presented in this study, who deserve specific mention: Kyrre Tromm Lindvig, Marita Buanes Djupvik, Eirik Askeri, Cludia Azevedo, Per Elias Drabls, Erlend Hegdal, Agnete Eilertsen, Tormod Anundsen, Lars K. Norberg, and Kai Arne Hansen. Their enthusiasm and critical scholarship has been an invaluable resource for the pursuit of many of my ideas. My gratitude also extends to all my undergraduate and postgraduate students, who, over the years, have significantly enriched my work.

Parts of this material were presented in various versions at events, including keynote addresses at the Nordic conference for the International Association for the Study of Popular Music at Roskilde University, Denmark in 2012 and the Queer Sounds and Spaces Symposium at the University of Turku, Finland in 2013. In addition I am grateful for various invitations to hold lectures at Laval University in Quebec, Canada, Goldsmiths College in London, and Humboldt University in Berlin, which had a direct impact on the formulation of many of my concepts. An invitation by Allan F. Moore to attend a special session on popular music analysis at the EuroMac conference, University of Leuven, Belgium, in 2014, provided me with a necessary platform to air my approaches to music analysis in the company of distinguished scholars. During the writing of this book my contribution to two groundbreaking volumes of interdisciplinary music research had a strong bearing on my work: The Oxford Handbook of New AudiovisualAesthetics (eds. Richardson, Gorbman, and Vernallis) and Lady Gaga and Popular Music (eds. Iddon and Marshall).

I owe much to all my colleagues and students at the University of Oslo, with a special thanks to Anne Danielsen, Kyle Devine, Alexander Jensenius, Tami Gadir, Peter Edwards, Stle Wikshland, Rolf Inge Gody, Ragnhild Brvig-Hanssen, Steven Feld, Hans Weisethaunet, Erling Guldbrandsen, Yngvar Kjus, Nanette Nielsen, and Hans Thorvald Zeiner-Henriksen, all of whom offered me useful feedback and encouragement at various stages along the way. The administration and library staff at my department, University of Oslo, is greatly valued; thanks to Mlfrid Hoaas, Gisela Attinger, and Arve Thorsen. Good support has also come from the University of Agder in Kristiansand, where I am adjunct professor and part of the team that runs the PhD program in popular music. Thanks to Tor Dybo and Michael Rauhut and all former and current PhD students for their consistent encouragement.

To Derek Scott, my friend and fellow co-commissioning editor for the Ashgate Popular and Folk Music Series, I am indebted for his reading of drafts of my chapters with insightful critique and infectious humor. Thanks also go to friends and allied scholars in my field: Susan Fast, John Richardson, Susan McClary, Anahid Kassabian, Barbara Bradby, Will Straw, Peter Wicke, Rob Walser, Freya Jarman, Erik Steinskog, Eoin Devereux, Georgina Born, Fabian Holt, Susanna Vlimki and Katherine Williams, for their feedback, inspiration, and encouragement at various stages in the writing of this book. To David Harrison, whose work I discovered during the final stages of this project, I am grateful for his input into the analysis of a Scissor Sisters track in .

For assistance with the transcriptions and invaluable insights into the intricacies of performance approaches and techniques, I am grateful to Per Elias Drabls. Equally so to Jon Mikkel Broch lvik, who not only assisted with the preliminary formatting of this material, but often helped sharpen important perspectives on my work. A wide group of friends and family deserve thanking on many important levels: Helge Klungland, Charles Cilliers, Martin Lund-Iversen, Jackie Roxborough, Barbara Hooper, Monique and Franois Widemann, Lynne Leader, Paul Jackson, Hylton Harrington, Cameron Robinson, Merete Falck, Moyra Metcalfe, Chris Metcalfe, Adrian Baker, Franziska Franz, Siren Leirvg, Eystein Sandvik, and Lil Nilsen.